Impact case study (ref3b)
Sources to corroborate the impact
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- Impact case study (REF3b)
- Institution: Royal Holloway, University of London Unit of Assessment: 35A: Music, Dance and Performing Arts (Drama) Title of case study: Reassessing Terence Rattigan
- Professional theatre-makers
- Theatre audiences and members of the public
5. Sources to corroborate the impact (indicative maximum of 10 references) Reports on the impact of the research on RBS’s programming and events. This corroborates the impact of Professor Cave’s research about Yeats to revivals the ballet by the Royal Ballet School. Anna Meadmore, The Many Faces of Robert Helpmann’ in Dancing Times (April 2013), p. 37. www.royal-ballet- school.org.uk/rhsymposium/media/Dancing_Times_Article_April_2013.pdf 2. www.royal-ballet-school.org.uk/rhsymposium/programme.php Report on the ‘Ninette de Valois; Adventurous Traditionalist’ conference to corroborate the range of professional interest in the research: 3. www.royal-ballet-school.org.uk/dvconference/conference.php Report on Dublin screening, corroborating public and professional interest in the research: www.danceireland.ie/events/event.php?id=1133 www.independent.ie/regionals/braypeople/lifestyle/abbey-hosts-tribute-to-dame-ninette-de-valois-28831042.html ‘Abbey Event to Celebrate royal Ballet’s Irish Founder’ by Deidre McQuillan, Irish Times 9 October 2012 (This document is available on request). Reports on work on Miracle workshopping (‘inspired’ by Cave’s work) and commissioning of re-creation of the choreography, and the interest of choreographers David Bintley and Gillian Lynne. http://londondance.com/articles/news/olivier-awards-at-the-roh/ www.whatsonstage.com/west-end-theatre/news/04-2013/oliviers-gillian-lynne-i-thought-theyd-all-forgott_401.html Impact case study (REF3b) 
Institution: Royal Holloway, University of London Unit of Assessment: 35A: Music, Dance and Performing Arts (Drama) Title of case study: Reassessing Terence Rattigan 1. Summary of the impact (indicative maximum 100 words) Professor Rebellato’s research has been a significant factor in the revival of Terence Rattigan’s reputation as a serious playwright, impacting on a wave of high-profile productions from 1998-2013. He has impacted on two groups of beneficiaries identified in the Department’s Impact Strategy: Professional theatre-makers: His scholarly editions of Rattigan’s plays used by actors and directors for performance. He contributed directly to the National Theatre’s decision to revive one of Rattigan’s least-known plays; Theatre audiences and members of the public: Rebellato’s many public talks, programme notes, appearance on broadcast media have helped shift the critical reception of Rattigan’s plays. Underpinning research (indicative maximum 500 words) Rebellato’s research on Terence Rattigan has been carried out from 1994 and throughout the REF period to 2013, while at Royal Holloway. It has consistently revalued the cultural and sexual politics of Rattigan’s work and built greater understanding of the complexity of his dramaturgy. It has involved the publication of chapters, articles, a monograph, and new editions of the plays. His work on Rattigan has been a key part of a broader project of re-reading the theatre of the 1940s and 1950s. The monograph 1956 and All That (London: Routledge, 1999) offered an historiographical re-reading of the theatre of the 1940s and 1950s, drawing on Foucaultian and ‘queer’ models to revalue the theatre of the West End as it may have seemed before the critical axis shifted towards Tynan and the Royal Court. This involved re-reading the queer dynamics of the West End, the theatre’s relationship to its audience, changing attitudes to theatrical collaboration, attitudes to Europe and Empire, the perception of emotional repression, the cultural dynamics of homosexuality, and the theatre’s relation to political context. Rebellato has also edited 12 volumes of Rattigan’s plays for Nick Hern Books, each of which comes with an original and substantial (7000–10,000 word) scholarly introduction as well as a general outline of Rattigan’s life and work. Several of these plays (First Episode, Less Than Kind, Duologue) have never been published before; others (After the Dance, Who is Sylvia?) have been long out of print. Publishing First Episode involved tracking down the six existing typescripts and establishing a definitive new edition. His edition of Separate Tables was the first to publish Rattigan’s own gay variant on the text. Each edition offers critical, against-the-grain readings of the plays, their development and their place in their historical, cultural and theatrical contexts. The editions include hitherto unpublished materials from the archives. In some cases, such as the edition of Who is Sylvia? which publishes extracts from an incomplete first draft thought to have been destroyed, Rebellato traced archive materials that were previously unknown. Together these introductions revalue Rattigan’s plays and politics, demonstrating the sophistication of his playwriting. Rebellato has extended the audiences for these ideas through public talks and programme articles accompanying Rattigan productions. They include talks at the National Theatre, Lyric Hammersmith, Chichester Festival Theatre, Theatre Royal, Haymarket, and elsewhere and programme articles for Rattigan productions by the National, Royal Exchange, English Touring Theatre, Royal and Derngate, and the Shaw Festival, Ontario. He was a contributor to a Front Row special on Rattigan in June 2011 on BBC Radio 4 and was consulted for the BBC Four documentary The Rattigan Enigma in the same month. He has written on Rattigan for Nick Hern Books and the Guardian’s websites in 2011 and 2010. Page 1
Impact case study (REF3b)
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